ISSN Online: Documentation of the traditional garments ... toga and the Indian dhoti and sari are...

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ISSN Print: 2394-7500

ISSN Online: 2394-5869

Impact Factor: 5.2

IJAR 2019; 5(1): 238-248

www.allresearchjournal.com

Received: 26-11-2018

Accepted: 30-12-2018

Vandana Chauhan

Associate Professor

Department of Clothing and

Textiles, Faculty of Family

and Community Sciences,

The Maharaja Sayajirao

University of Baroda,

Vadodara, Gujarat, India

Kajal Prajapati







Correspondence

Vandana Chauhan

Associate Professor







Documentation of the traditional garments preserved

in the textile art museum, the maharaja Sayajirao

university of Baroda, Vadodara

Vandana Chauhan and Kajal Prajapati

Abstract

India is a land abundant in traditional costume that have lent themselves to the creative hands. Another

thrilling factor is the numerous processes that these materials go through before they take final shape.

Indian traditional costumes are truly fascinating: it is incredible how ancient practices and traditions have

continued since time immemorial.

It is necessary for cultural heritage information, in all its forms to be preserved. Valued and conveyed for

the reference of the future generations and it cannot advance without consistent and reliable access to

information sources. Making resources accessible is important but ensuring precision in resource

discovery is very important for future reference.

This study was an endeavour to document and digitized the traditional Indian garments of the collection

in Textile Art Museum of the Maharaja Sayajirao University of Baroda. An earnest attempt was directed

towards analysing, documenting and digitizing the artifacts of the museum with their unique

characteristic features with in terms of origin, articles, fabric, fabric colour, surface ornamentation,

seams, stitching, present condition and description.

The descriptive and analytical research design was planned to accomplish formulated objectives. The

relevant data was procured through secondary sources. The documentation of the traditional garments

artifacts were done through preparation of the catalogue supplemented with photographs. The first phase

included classification of the traditional garments according to the gender which they belonged to. The

second phase comprised of collection of relevant data about textile artifacts and analyses of each artifact

based upon procured data. The third phase included the drafting instructions and paper patterns were

developed for the preservation of the data of the selected blouse. Fourth phase included of digitization

by making the catalogue.

Keywords: traditional garments, museum

1. Introduction

Clothes are natural to men and their proper decoration on his unclothed body is not ugly, on

the contrary it is beautiful and pleasing. History testifies that man has throughout been

inventing and creating for their fulfilment. It is, therefore that his essential love of nature has

been manifest directly or indirectly in all such creations. His needs, his socio-geographical

environment, his economic status is all fully represented therein. Particularly, among these, his

costumes show the utmost influence of the social life, the seasons and his field of work.

Textiles have been produced in India since antiquity. However, very few of the old textiles

still exist. One reason is that cloth has long been regarded solely as an article of consumption,

rather than as an art form, and designs are lost through everyday wear and tear.

The Indian village of now bears little resemblance to its predecessor of about four thousand

years ago. Yet the bulk of early styles of costumes, such as embroidered, painted, dyed and

printed textiles, may be described as genuine traditional art in the original sense of the term.

Another factor, which played an equally important role in the development of traditional Indian

textiles and costumes over several thousand years, is the country's geography. In the cultural

and historical sense, India constitutes a vast subcontinent of strongly contrasting physical

features and corresponding variations in climate.

From the earliest period of Indian proto history, the Harappa culture, the evidence about

textiles and dresses is scant but not unimportant. The survival of an actual fragment of cotton

cloth, and the upper garment draped around the body like a shawl.

International Journal of Applied Research 2019; 5(1): 238-248

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International Journal of Applied Research

The earliest clothes were made of vegetable bark and animal

skins and subsequently of felted fibres and woven yarns.

Most ancient peoples living in hot climates wore lengths of

cloth draped over the body. The Egyptian mantle, the

Abyssinian, Syrian and African shama, the Jordanian loin-

cloth, the Greek himation, the may be called "core" garments

whose shapes and silhouettes developed regionally along

Roman toga and the Indian dhoti and sari are all unstitched

lengths of fabric wrapped around the body in different ways.

Fabrics were also stitched together to produce what may be

called “core” garments whose shape and silhouette developed

regionally along the same instinctive lines as the unstitched

cloth. The tunic, skirt, and trouser which were originally

designed for purely functional purposes evolved into more

sophisticated and decorative items of clothing.

What a person wears are often indicative of his or her

personal and social identity, marital status, occupation and

sometimes even religion. The flavour of Indian costume is

sensed through movement, drape and detail. No less

important is the association of the colour of apparel with

custom and ritual. (Kumar, 1999) [10].

2. Purpose of the Study

India is a country which has a treasure of traditional garments,

which can be adapted to bring individuality glamour and style

to modern fashions. India has record of unbroken living

vibrant traditional garments which needs to be preserved.

There is no doubt that every effort to be taken to revive the

traditional styles, for that paper patterns and drafting

instructions were needed to preserve it. Keeping artifact in

the museum is one way of preserving it.

The Department of Clothing and Textiles has very valuable

collection of traditional garments. The main purpose of the

proposed research was to document the identifying features

and development of drafting instruction and paper pattern of

the traditional garments’ artifact preserved here.

The researcher was interested in carrying out a study in the

aspects of database by using reliable and economic means of

modern technology. The researcher had made a catalogue

which would provide other researchers and students

information about traditional garments. A museum cannot

display all the artifact all the time. So, making a catalogue of

these was providing a long term compact and easily

accessible product which can be invaluable reference and

research tool.

This research was an endeavour to make the traditional

garments known to even common man with respect to its

characteristic details, original name, identifying features such

as its origin, fabric, fabric colour, stitching, seams, surface

ornamentation, closures, present condition and other

description. The researcher also developed drafting

instruction and paper pattern for the preservation of its

originality in terms of flat pattern.

3. Objectives of the Study

To study and analyse the traditional garments from the

collection present in the Textile Art Museum.

To develop the drafting instructions and paper patterns of

the blouses.

To prepare a catalogue of the documented traditional

garments.

4. Method of Procedure

The main objective of the research was the documentation of

the traditional garments which are preserved in the “Textile

Art Museum” of the Department of Clothing and Textiles,

Faculty of Family and Community Sciences, The Maharaja

Sayajirao University of the Baroda, Vadodara. The type of

research was descriptive as well as analytical.

Museum traditional garment artifacts were cultural resources

for the nation, which provides base line information about the

lives and history of people and groups throughout the nation.

To obtain the relevant literature, the investigator visited the

libraries and museums of Gujarat.

The investigator browsed websites with the help of search

engine to collect the review of literature. Various books,

brochures, leaflets, articles published in magazines and

unpublished dissertation were mainly referred which served

the purpose for identifying, understanding and studying the

artifact in the collection.

The researcher did a thorough study of all the traditional

garments from the secondary source. Historical details,

origin, significance etc. was also done. Based on the

knowledge obtained through the secondary data, the

researcher then analysed the artifacts present in the Textile

Art Museum in terms of catalogue no., artifact, origin, fabric,

fabric colour, stitching, seams, surface ornamentation,

closure, present condition, description and measurement of

the garment.

Total 63 garments were selected for analysing from the

traditional garments of the ‘Textile Art Museum’. For this

research paper 11 traditional garments were taken. The

garments were classified on basis of gender i.e. male and

female.

Relevant data was collected through primary as well as

secondary sources. Primary data collected through

observation method was applied to documentation of the

traditional garments of the “Textile Art museum” of the

Departments of the Clothing and Textiles. The photography

was captured through Nikon D1300 18 to 50 Mega pixels.

The photography was done in proper light. The artifact was

placed on the mannequins or flat on the table. The front and

back of each artifact were photographed.

Data through the secondary source was collected from the

books, journals, dissertation, thesis, magazines and through

various websites.

After observation and taking measurements of the actual

traditional garments, drafting instructions were developed

and converted into paper patterns for only blouses.

5. Result and Discussion

The study was carried out in four phases. Firstly, garments

were broadly classified according to the gender they belonged

to. Secondly, collection of relevant data which would aid the

researcher with the information required. Throughout

analysis and description of each artifact was carried out by

the researcher. In the last the drafting instructions and paper

patterns were developed for the preservation of the data of the

selected Blouses. Fourth phase included of digitization by

making the catalogue.

The researcher did a thorough study of all the traditional

garments from the secondary source. Historical details,

origin, significance etc. was also done. Based on the

knowledge obtained through the secondary data, the

researcher then analysed the artifacts present in the Textile

Art Museum in terms of catalogue no., artifact, origin, fabric,

fabric colour, stitching, seams, surface ornamentation,

~ 240 ~


closure, present condition, description and measurement of

the garment.

Total 63 garments were selected for analysing from the

traditional garments of the ‘Textile Art Museum’. For this

research paper 11 traditional garments were taken. The

garments were classified on basis of gender i.e. male and

female.

Relevant data was collected through primary as well as

secondary sources. Primary data collected through

observation method was applied to documentation of the

traditional garments of the “Textile Art museum” of the

Departments of the Clothing and Textiles. The photography

was captured through Nikon D1300 18 to 50 Mega pixels.

The photography was done in proper light. The artifact was

placed on the mannequins or flat on the table. The front and

back of each artifact were photographed.

Data through the secondary source was collected from the

books, journals, dissertation, thesis, magazines and through

various websites.

After observation and taking measurements of the actual

traditional garments, drafting instructions were developed

and converted into paper patterns for only blouses.

5.1 Male Garments

No: 1

Fig 1: Angarkha’s front and back

Catalogue No: G 69

Artifact: Angarkha

Origin: Uttar Pradesh

Fabric: Satin

Fabric colour: Pink

Fabric construction: Satin woven fabric

Stitching: Hand Stitch

Seams: Plain seam

Surface ornamentation: Golden ribbon, Zardozi

embroidery.

Closures: String, Potali buttons

Present Condition: Torn, Stain observed, unravelling of

golden ribbon.

Description: It had gusset attached with sleeve and side

seam with side slit. The pink Angarkha had bias piping

of 1.5 cm on the neckline, sleeve hemline, front line, side

slits and garment hemline. Angarkha had cotton lining.

Golden ribbon was attached at neckline, armhole, sleeve

hemline, over the gusset, kali and bottom hemline.

Zardozi embroidered patch attached on the sleeve and at

the center back. It had full-length set-in sleeve. It reached

till below the knee.

Scale: 1/6 th cm scale

Ill 1: Angarkha's front and back

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No. 2

Fig 2: Sherwani’s front and back

Catalogue No: G 65

Artifact: Sherwani

Origin: Uttar Pradesh

Fabric: Brocade

Fabric colour: Golden, Cream

Fabric construction: Jacquard woven fabric

Stitching: Machine Stitch

Seams: Plain seam

Surface ornamentation: ----

Closures: Button

Present Condition: Torn observed.

Description: Sherwani had high neckline with Chinese

collar. It had single waist dart on front side only. The

pockets were side seam pocket with side slits. It had

lining of satin fabric in golden coloured. The opening

was full front opening. It reached below the knee. The

sleeves had upper sleeve and lower sleeve of full length.


Ill 2: Sherwani's front and back

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No. 3

Fig 3: Achkan’s front and back

Catalogue No: G 99

Artifact: Achkan

Origin: Rajasthan

Fabric: Muslin

Fabric colour: Off white

Fabric construction: Plain woven fabric


Seams: Invisible

Surface ornamentation: ---

Closures: Buttons

Present Condition: Stain observed.

Description: The achkan reached till below the knees. It

had a Chinese collar. There was a welt pocket on lift side

of the front at the top. It had full front opening and had

slits at side seam, the back had seam. It had armhole dart

reaching uptil the waist. The sleeves of the achkan had a

full length and the sleeves had upper sleeve and under

sleeve.


Ill 3: Achkan’s front and back

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Fig 4: Breeches front and back

Catalogue No: G 101

Artifact: Breeches

Origin: Rajasthan

Fabric: Muslin

Fabric colour: Off White


Stitching: Machine

Seams: Flat & fell seam

Surface ornamentation:

Closures: Zipper and Clip

Present Condition: Good

Description: Breeches was lower garment of men. It was

fitted garment from knee to till the ankle. It had

reinforcement from mid-thigh to below the knee. There

was a front pocket and the waist band was 1.5 inches

wide with 3 inches extended at the opening. The back

had single waist dart. There was a loop on the waist to

pass the belt. It was loose fitted garment from wait till

the knee


Ill 4: Breeches's front and back

No. 5

Fig 5: Vanjani’s front and back

Catalogue No: G 85

Artifact: Vanjani

Origin: Gujarat

Fabric: Cotton Polyester

Fabric colour: White



Seams: Plain seam

Surface ornamentation: -----

Closures: String, Buttons & loop.

Present Condition: Stain observed.

Description: Vanjani was worn by the Ahir

community’s men. It had casing self-folded in the front

and had an opening at the front and back for the string in

front. The mori had buttons to close it with cotton thread

loop.


Ill 5: Vanjani

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5.2 Female Garments

No: 6

Fig 6: Kurti’s front and back

Catalogue No: G 55, G 108

Artifact: Kurti (Kurti Kachali)

Origin: Rajasthan

Fabric: Silk, Cotton

Fabric colour: Pink Cream, Cream, Red, Green, Printed

Fabric construction: Plain woven and twill woven

fabric

Stitching: Hand Stitch (Cream & Pink), Machine Stitch

(Cream, Red & Green)

Seams: Plain seam


Closures: ---

Present Condition: (Cream & Pink) Holes & Torn

observed (Cream, Red & Green)-Good.

Description: The Pink & Cream coloured Kurti was in

silk. It was hand stitched Kurti. The neckline, armhole,

side slits and the hemline had a 1.5 cm wide bias folding.

It was a sleeveless Kurti with side slit printed at the

hemline.

o The cream, Red and green coloured printed Kurti was

also sleeveless+, will side slits at the hemline. The

neckline, armhole and hemline slits had a 1.5 cm wide

bias folding. There was also a plain red coloured bias

piping which was narrow.


Ill 6: Kurti’s front and back

No. 7

Fig 7: Blue jacket’s front and back

Catalogue No: G40, G33

Artifact: Jacket

Origin: Gujarat

Fabric: Georgette

Fabric colour: Peach & Blue



Seams: Plain seam

Surface ornamentation: Zardozi Embroidery

Closures: Buttons

Present Condition: Stain of Preparation, Hole observed.

Description: This was a sleeveless jacket in georgette

with full front opening. It had a satin lining. This was a

zardozi embroidered jacket. There were two patch

pockets above the hemline. The center front, armhole,

hemline and the upper edge of the patch pocket had

piping of the lining. The back had two princess lines

starting from arm hole. There was a seam at the center

back. The front had two fish dart on either side.

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Ill 7: Koti front amd back

No. 8

Fig 8: Choil’s front and back

Catalogue No: G80

Artifact: Choli

Origin: Andhra Pradesh

Fabric: Khadar, Synthetic

Fabric colour: Yellow, Red, Blue




Surface ornamentation: - Mirror work, hand

embroidery, applique work

Closures: string

Present Condition: Holes and perspiration Stain

observed

Description: Choli back was backless with string as a

closure. It had the yoke. The choli reached till below the

waist. The sleeve length of the choli was just above the

elbow. The embroidery was done by hand in maroon,

pink, yellow, orange coloured. The applique work was

triangular and were in green, red and yellow colours. Just

below the yoke. There was a flap attached having two

large mirrors, two small mirrors and metal beads and

pendants. In the center at the hemline there was a square

piece attached with both small and large mirrors. The

choli had a khaddar lining. The side panel had applique,

embroidery and mirrors or small and large size.

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Ill 8: Choli front and back

No. 9

Fig 9: Pink Blouse’s front and back

Catalogue No: G1, G7, G9

Artifact: Blouse

Origin: Gujarat

Fabric: Satin fabric

Fabric colour: Red & Yellow, Purple(G1), Red &

Green (G7), Pink (G9)

Fabric construction: Dobby woven & jacquard woven

fabric


Seams: Plain seam

Surface ornamentation: Lace, Zardozi work.

Closures: Tie string

Present Condition: Good

Description: The Blouse had katori and back. It had

slight gathers at the center front to add the fullness. It had

piping at the neckline and hemline. It had cotton lining,

both the lining. Both the fabric, lining as well as the main

fabric was quilted by machines stitches. The sleeves had

square design and the katori had floral design. The

hemline of the sleeve had brocade border. The back was

backless.


Ill 9: Blouse front and back

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No: 10

Fig 10: Kachali Blouse’s front and back

Catalogue No: G 106

Artifact: Kachali

Origin: Rajasthan

Fabric: Cotton printed

Fabric colour: Cream, Red, Green,



Seams: Plain seam


Closures: Tie String

Present Condition: Good.

Description: The Kachali was based on the Katori

Blouse cut. The katori of the kachali had two waist darts.

The sleeve had a gusset. All along the shape of the katori,

the, neckline and the hemline of the sleeve had a narrow

bias piping in plain red colour. The sleeve was reaching

just above the elbow. The back was backless which was

tied with strings.


Ill 10: Kanchali blouse front and back

No. 11

Fig 11: Ghagara

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Catalogue No: G79

Artifact: Ghagara (Skirt)

Origin: Andhra Pradesh

Fabric: Khadarss

Fabric colour: Yellow, Red, Blue, Green, Brown


Fabric construction:



Surface ornamentation: Mirror work, hand

embroidery, applique work

Closures: Tie string

Present Condition: Stain and holes observed

Description: The Ghagara had yoke at the waist with

mirrors and embroidery in chain stitch and herringbone

stitch. The yoke was 20 cm wide below the yoke the skirt

was knife pleated the thighs. Below this a 10 cm wide

blue coloured panel was stitched which had appliqué in

triangular and herringbone stitch. After this panel there

was a base fabric panel was stitched which had

herringbone stitch, small tassels and applique of base

fabric in square shape. Last panel was again of base

fabric, had applique at the edge and above it triangular

with tassels.


Ill 11: Ghagara

6. Conclusion

India is a land of rich traditional costume which needs to be

preserved. Documentation and digitization of these costumes

will provide long term easy access to the data and will also

serve as ready reference as this tradition will deteriorate over

the period of the time and museum cannot display all the

artifacts. Today making a catalogue of these will provide a

long term compact and easily accessible product which can

be invaluable reference and research tool. This computerized

documentation will facilitate the museum to managerial as

well as curative work and also research, publication and

proper public access to the collection. The research would

provide educational resource both within the university and

beyond. This documentation and digitization would make

available the comprehensive information with images and

1/6th cm scale flat pattern of each garments in the Textile Art

Museum, The Maharaja Sayajirao University of Baroda,

Vadodara. The development of drafting instruction and paper

pattern for the preservation of its originality in terms of flat

pattern were also developed during this study.

7. References

1. Armstrong H. Patten Making for Fashion Design (5th

edition). Soth Asia: Pearson Education Inc., 2010.

2. Bhatnagar DP. Traditional Indian Costumes & Textiles.

Chandigarh: Abhishek Publications, 1999.

3. Cooklin G. Pattern Grading for Womens Clothes- The

Technology of Sizing. New Delhi: Blackwell Science,

1990.

4. Cooklin G. Paper Grading For Women's Outwear, New

Delhi: Blackwell Science, 1994.

5. Edwards E. Textiles and Derss of Gujarat. India: Mapin

Publishing, 2011.

6. Erwin M.D. Practical Dress Design-Principles of Fitting

and Pattern Making New York: Texas Technological

College, 1954.

7. Ghurye GS. Indian Costume Bombay: Popular

Prakashan PVT. Ltd. 1951.

8. Goswamy B. Indian Costume. Ahmedabad: Calico

Museum, 1992.

9. Hollen NR. Paper Making by the Flat Pattern Method.

Minnece Polis: Burges Publishing, 1972.

10. Kumar R. Costumes and Textiles of Royal India India:

Christies Book limited, 1999.

11. Mabel D. Prectical Dress Design Principles of Fitting

and Pattern Making. New York: Texas Technological

College, 1954.

12. The World Wide History of Dress. U.K: Thames &

Hudson, 2007.

13. Zarapkar K. Zarapkar- System of Cutting Dantali:

Gujarat Navneet Publication, 2007.

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